Just some quotes from Swann's Way. Typed them, though should have copied them down by hand.
But now I found something shocking in this attitude of Swann's toward things. It appeared that he dared not have an opinion and was at his ease only when he could with meticulous accuracy offer some precise piece of information. But if that was the case, he did not realize that to postulate that the accuracy of these details was important was to profess an opinion. [...] We are very slow to recognize in the particular features of a new writer the model that is labeled "great talent" in our museum of general ideas. Precisely because these features are new, we do not think they fully resemble what we call talent. Instead, we talk about originality, charm, delicacy, strength; and then one day we realize that all of this is, in fact, talent. (100-01)
And this certainly does not mean that M. Legrandin was not sincere when he ranted against snobs. He could not be aware, at least from his own knowledge, that he was one, since we are familiar only with the passions of others, and what we come to know about our own, we have been able to learn only from them. (132)
Without saying to myself that what was hidden behind the steeples of Martinville had to be something analogous to a pretty sentence, since it had appeared to me in teh form of words that gave me pleasure... (185)
At an earlier time one dreamed of possessing the heart of the woman with whom one was in love; later, to feel that one possesses a woman's heart may be enough to make one fall in love with her. And so, at an age when it would seem, since what one seeks most of all in love is subjective pleasure, that the enjoyment of a woman's beauty should play the largest part in it, love may come into being-love of the most physical kind-without there having been, underlying it, any previous desire. At this time of life, one has already been wounded many times by love; it no longer evolves solely in accordance with its own unknown and inevitable laws, before our astonished and passive heart. We come to its aid, we distort it with memory, with suggestion. Recognizing one of its symptoms, we recall and revive the others. Since we know its song, engraved in us its entirety, we do not need a woman to repeat the beginning of it-filled with the admiration that beauty inspires-in order to find out what comes after. And if she begins in the middle-where the two hearts come together, where it sings of living only for each other-we are accustomed enough to this music to join our partner right away in the passage where she is waiting for us. (204)
He had for so long given up directing his life toward an ideal goal and limited it to the pursuit of everyday satisfactions that he believed, without ever saying so formally to himself, that this would not change as long as he lived; much worse, since his mind no longer entertained any lofty ideas, he had ceased to believe in their reality, though without being able to deny it altogether. (218)
And in fact, pained by the thought that, at the moment when it passed so close and yet infinitely far away, thought it was addressed to them in did not know them, he was almost sorry it had any meaning, any intrinsic and unalterable beauty, alien to them, just as in the jewels given to us, or even the letters written to us by a woman we love, we resent the water of the gem and the words of the language, because they are not created exclusively from the essence of a passing love affair and a particular person. (227)
...the metaphor "make cattleya," having become a simple phrase they used without thinking about it when they wanted to signify the act of physical possession-in which, in fact, one possesses nothing-lived on in their language, commemorating it, after that forgotten custom. And perhaps this individual way of saying "make love" did not mean exactly the same thing as its synonyms. (243)
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